The Endlock Series, 25th Day of Autumn, 526 M.E. (Electra): Welcome, Gonzalo! That area of low pressure a few hundred miles south the Cabo Verde Islands now has a name, and that name is Gonzalo. No need to be concerned though - Tropical Storm Gonzalo is barely moving and shows no intention of taking the long voyage across the Atlantic. It's forecast to dissipate to a tropical depression by the end of the weekend and still be in the same general area as it is now. Likewise, Fay.
I was in the fourth grade when The Beatles made their American debut on The Ed Sullivan Show (why pretend to segue from the paragraph above to this one?). I was a little too young to get it, but the performance had all the kids on the school bus the next morning all riled up. "Did you see that?," and "the hair!," and "yeah, yeah, yeah." The driver had no idea what had us so wound up that day, and one kid had somehow managed to produce a Beatles wig and total mayhem broke out as we all fought for turns to try it on.
But despite the excitement I was still a little too young to get on board and took my cultural cues from mediocre t.v. variety show comedians and newspaper columnists, who were pretty much in agreement with my parents who thought is was all just noise. "All they do is scream," my Mom concluded. I didn't develop my own tastes in music until the following year and by the sixth grade I was a full-blown Beatlemaniac.
In 1966, I would make a weekly pilgrimage to the local record store and buy my 45-rpm single of the week. My tastes were informed solely by AM radio, 77 WABC in New York City, Cousin Brucie and whatever other disc jockeys they carried. So I was buying singles like We Can Work It Out by The Beatles (backed by Day Tripper) and Good Lovin' by the Young Rascals (backed by Mustang Sally) and Happy Together by The Turtles (I forget the B-side).
The only LP album I owned was a Christmas present from my parents, The Best of Herman's Hermits, and I listened to it over and over and over again because it was the only album I owned, which was awkward because of the track Mrs. Brown You've Got a Lovely Daughter. Our next door neighbors were the Browns and they had a daughter, one year older than me, and my parents, hearing the track repeatedly playing in my bedroom, thought I was developing some sort of obsession with her. I wasn't, and to this day I wish the song had been titled Mrs. Jones You've Got a Lovely Daughter. Smith, Johnson, anything - why did they have to choose Brown?
The picture I'm trying to paint here is a typical 12-year-old teeny-bopper in suburban America, but then one day everything changed. My radio, a crappy battery-powered transistor, broke one day ("the switch broke 'cause it's old," Elvis Costello, 1980). My parents kept an FM radio in the kitchen in order to play classical music during dinnertime and as far as I knew, classical was the only music on FM radio. But burned out on my collection of 45s and meager selection of albums, I searched up and down the dial for some rock 'n' roll to listen to. To my surprise, I found that WABC also had an FM counterpart. They played the same Beatles and Rolling Stones hits as their AM counterpart to be sure, but they also played "deep cuts" off the albums in addition to the singles and the hits. And they also played other bands, like the Jefferson Airplane and Buffalo Springfield. Listening to FM wasn't a compromise like I had expected, but actually an improvement.
Not only was the music better, but the whole vibe was cooler. AM radio was all manic, fast-talking DJ's, jingles and promos, zany sound effects (car horns, cuckoo clocks, gong, whistles, etc.) and lots and lots of commercials. FM jocks talked slower, naturally, and without all the gizmos and noise. George Carlin does a great routine about the difference between AM and FM radio that is probably incomprehensible to anyone under the age of, oh, sixty.
After a few weeks, I got curious and explored the dial some more and came across WNEW-FM, which was even cooler than WABC-FM. Beatles and Stones, sure, as well as the Airplane and Buffalo Springfield, but also The Doors, Moby Grape, Tim Buckley, and more. A whole new universe of music had opened for me, and just like Jenny in that Lou Reed song, I had put on a New York station and couldn't believe what I heard at all.
Over the following years (I'm probably in the seventh or eighth grade at this point, 1967 or '68 and in my early teens), I explored the dial further and found even cooler stations with even wilder music (Hendrix, Traffic) and even earthier, more organic, non-commercial vibes. Each successive new station made my previous stations sound juvenile, trite, and outdated. The lesson I learned was that there's always something a little better out there, that one had to keep seeking and never settle for complacency in some comfort zone. Think Steppenwolf rocks hard? Well, listen to Led Zeppelin. Think Strawberry Alarm Clock are psychedelic? Here's Quicksilver Messenger Service.
Always deeper. Always something further out. Your 1968 cutting edge is passe by 1969. It was that experience, that broken transistor radio, that started me down the long, never-ending rabbit hole I'm still following today. I'm one of the very few people I know who's musical taste didn't crystallize at some point in their lives. Some people my age never got past The Beatles and the Stones. Some got as far as Hendrix and Zeppelin, but that was it. The Talking Heads and the B-52s are the epitome of "modern" to some, while others even went so far as to embrace goth, post-punk, and noisy, angry 90s alternative, but then stopped there.
I kept going. I keep going. There's always something new and exciting out there. Jazz, experimental, improv, noise. Minimalism and neo-classical and ambient. Electronica, techno, IDM, krautrock. Indie rock, indie folk, indie pop, indie folk-rock pop. Power pop. Hip hop. Bebop, post-bop, hard bop, free jazz, modal jazz, Miles, Monk, and Mingus. The AACM, the AEoC, the JCoA, Anthony Braxton, Mary Halvorsen, Patricia Brennan, Sylvie Courvoisier, Myra Melford.
I weirded out my college roommates with my music and alienated more than a few girlfriends. On the other hand, I was introduced to new music and new artists by record-store clerks ("have you heard Mr. Bungle yet?"), the alternative press (Yo La Tengo and Sunburned Hand of the Man), and strangers at shows ("man, you gotta check out Jim O'Rourke"). On-stage, St. Vincent encouraged us to give another listen to The Pop Group. It never stops.
Never rest. Keep listening. Dig deeper. Work harder.
It's worth it.